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English: Chapter 1 is an explanation of the complete process that was followed in this study: A qualitative study to determine audience reception of symbolism in Tennessee Williams's A Streetcar Named Desire. The motivation, exposition, aims and structure of the study are discussed in this chapter.
In Chapter 2 semiotics and reception theory are analysed. The shortcomings of reception theory in terms of performance are shown, and the complexity of the semiotic process that includes the process of giving meaning through a performance in the theatre are analysed. This study is extremely complex because many different factors play a role in terms of message encodement during a performance, that is then communicated to the audience.
Chapter 3 investigates the various definitions of the term symbol. Reference is made of the symbolist movement and distinctions are drawn amongst the three basic semiotic signs in the theatre, namely the icon, the index and the symbol. A brief investigation is carried out to look at the difference between literary and theatre symbolism. Mention is also made of the multi-faceted nature of a symbol which imbues the symbol with special significance. An actual definition of the term symbol is very difficult to arrive at because of the complexity of meaning that can be attributed to the symbol.
The literary investigation of A Streetcar Named Desire is done in Chapter 4. The literary symbols that are apparent in the drama text like theme(s), structure, dialogue, action and stage directions are analysed in this chapter, as well as the symbolic actions and roles of most characters in the play.
Chapter 5 presents a report from the director, looking at some of the key moments in the drama. Particular attention is paid to the role of the director in the encoding of symbols in the play.
Chapter 6 deals with qualitative research methods that are discussed in terms of theory and is then used in a practical application to matters such as data collection, interpretation and analysis. The extent to which the different focus groups perceived symbols in certain aspects of the performance, such as lighting, decor, sound, costumes, colour, composition, and props, is also evaluated. It is evident from the research that the visual symbols played a more significant role than the auditory symbols during the performance. Factors such as age and theatre experience of the recipients/audience did not necessarily make for better reception of symbols in this specific performance.
Chapter 7 concludes the process and interprets the qualitative research results. It can be concluded that the play, A Streetcar Named Desire, lends itself to the relatively successful perception of symbolic meaning during performance.
The complexity of the communication process during a performance of the text in a theatre is examined in this study. It is hoped that this dissertation can serve as a practical point of departure for further investigation and research into this complex and challenging field.